#continuing to rely on cheap lighting tricks instead of learning how to light

[sreppub]

a different person

[breakfastteatime]

Well, instead of fixing the political landscape of the US and the rest of the world, how about I let everyone take a sneak peek at a fic I'm working on?

This is unedited, untitled and very very very unfinished...

***

Cere stares at Cal.

Cal stares at Cere.

BD, Merrin and Greez stare at both of them.

No one speaks. A faint wind blows across the clearing, carrying the scent of sea salt.

BD twitches. Merrin grabs him before he can do or beep anything. Greez seems to be holding his breath.

A lightsaber ignites, a soft buzz in the dawn light. Cere moves first.

Cal blocks. 

Cere's jabs are short, sharp and accurate. Cal moves fast, single-blade meeting Cere's every time.

BD cheers Cal on. Merrin marvels at Cere's form. She’s so much more refined than Cal, not a single movement wasted. Greez covers his eyes with his hands, then covers those hands with his other hands. He cracks his fingers and peers through.

Cere pushes Cal hard, forcing him to tighten his forms, rely more on real Jedi techniques and less on improvised flashiness. Probably because Cere has his second blade and gave him strict orders not to attempt to pull it from her hand. That, she told him, is a cheap trick and not one he should ever rely on. She is wise. And devious. Merrin admires her greatly.

Cere is holding back; not because Cal cannot match her (although Merrin would absolutely bet against him), but because there is a lesson to be learned here. One perhaps Merrin needs to learn too. Flair is arrogance. A Jedi should not show off. They must set their sights on their target and deal with it as succinctly as possible.

A Nightsister can do the same, but only so when she does indulge, her enemies are all the more stunned by her power and prowess.

Honestly (and Merrin will never share this with anyone), she thinks the Jedi needed to cut loose once in a while.

The fight continues. Cere never falters, her relentless lunges and jabs seeking every gap in Cal's defence. He has the endurance to withstand Cere's prolonged offence, but he doesn't have her experience, and when she does eventually break his guard and land a blow, Cal seems delighted to have held out as long as he did. 

He is a very strange person.

"Can we please have breakfast now?" Greez pleads.

“Of course,” Cere says, looking bright and light on her toes. She pats Cal on the shoulder, returns her borrowed lightsaber, and tells him to put some bacta on the burn, and heads aboard the ship. “We need to finalise the supply list.”

BD’s list of demands is lengthy. Cal nods. “Yeah, that’s what we’ll do first, and I’ll get you the best oil I can find.”

“It’s not all about what you want, BD!” Greez hollers.

Merrin wishes she understood BD. She’d love to understand all that beeping and why it’s making Cal laugh like that.

After breakfast, they head into the nearby town armed with destinations to visit and lists from Cere. Merrin can’t wait. She’s never been anywhere like this, Built into the cliff, the people here have two main trades – fishing and mining, and the mining is largely done at the behest of the Empire. Merrin suspects Cal wants to shut the mines down. She also knows Cere won’t let him. The planet’s entire economy relies on those mines just as much as they need the fishing for food. Personally, Merrin can barely wrap her head around galactic economics, but she knows enough to understand they can’t make things worse for ordinary people. They see it time and time again; planets apparently thriving under the Empire, the people completely unaware of the suffering being endured elsewhere in the galaxy. Merrin cannot understand it. For all the cravenness they see, sometimes she simply has to accept that the Empire is very good at controlling their own narrative and nothing they do will convince people the Empire isn’t the best thing that ever happened.

Sometimes, she truly misses the simplicity of her life on Dathomir.

She also misses the warmth. She’s wearing several layers and it’s still not enough. And then, when they reach the town, there are signs everywhere for an ice rink. Cal forgets his list and the shops Cere told him to go to.

“Merrin, we gotta go!” Cal’s eyes light up.

“What is an ice rink?” she asks.

“You skate! On ice! You’ll love it.”

“Stores and supplies first,” Cere says before Merrin can tell Cal ‘no’. “Potentially limb breaking activities later.”

They split up and go their separate ways with a promise to meet up at the ice rink later. Merrin moves through the streets, staring openly at what she sees. Shops carved into the cliffs, others bolted on and towering into the sky, all of them thrumming with people of all species and genders. Cere specifically chose a busy time of day for them to enter the town so no one would notice them. They’re just another batch of tourists come to marvel at the cliff city of Turrey, mid-rim gateway to the stars (according to all the posters she sees pasted on streetlights and mounted on store walls). She likes this world, likes its energy. The people here are hard-working, proud, honest. She can feel it, is empowered by it. Not that she’ll be wielding her magick for all to see while they’re here. Not unless the Empire decides to do something exceedingly heinous which, given that she has yet to come across a single stormtrooper, seems unlikely.

Once she’s gathered up the supplies on her list (various foodstuffs, some ingredients that will suffice for her potion craft, a local tea she thinks Cere might like), Merrin heads to the local café where they’d all agreed to meet. It’s built into a cave, huge glowing orbs hanging from the ceiling, soft bass music playing under the current of conversation and busy barista activity. Cere is there already, sipping caf and watching the world go by. Merrin orders herself a very elaborate juice, complete with ice, froth and a little umbrella, and joins her at the table.

“What do you think?” Cere says. “How does this world rank with all the others you’ve been to so far?”

Sipping her juice, wincing at the sharp sweetness, Merrin lakeers for a moment. Cliff city, chilly weather, sunny though… “If we can finish what we need to do without encountering a single stormtrooper, it will rank highly.”

Greez, Cal and BD join them a short while later, both laden down with supplies and caf. BD is the first to launch into a lengthy explanation about… something. Merrin still does not understand him. Cal translates.

“The people here kept telling me to ‘mind my droid’ as they tend to be unreliable and prone to malfunctions on this world,” he says. BD blurts out something else. “I know, buddy, you’re fine. No malfunctions detected.”

“Malfunction how?” Cere asks.

“Unreliable memories, a tendency to lie, that kind of thing,” Cal says. “It’s probably why most of the droids we came across in the stores we went in didn’t have vocalisers.”

“Eh, wouldn’t be the first world we’ve been on that doesn’t like or trust droids,” Greez says. “Anyway, enough about that. What’s next on the agenda, and please tell me it’s chilling out and having a good day.”

Cal immediately talks about the ice rink, raving about how it’s actually a large lake on top of the cliff outside the town hall and the river its connected to runs all the way through the mountain and down to the sea. He’s so excited, Merrin feels like she’s talking to someone much younger. She wonders for a moment if this was what he was like as a child, happy and excitable. If he is, no wonder he and BD get on so well.

“…heard anything I said, Merrin?”

She blinks, stirring her drink with the straw. “We will go to this ice lake rink you speak of. I would like to see you skate.”

BD giggles and tells Cal something that makes Cal roll his eyes and jab BD’s chassis. “I’d like to see you do any better!”

They go back and forth, teasing each other, although Merrin can only pick up one side of the conversation.

“We’ll drop everything off on the ship, then come back to watch Cal go flailing across the ice,” Greez says.

“Merrin too unless she’s too scared,” Cal says, sing-song, teasing. BD provides backing vocals. “We can race, see who can get from one side of the rink to the other the fastest.”

Merrin is never one to turn down a challenge.

When they head up to the top of the cliff later, Merrin is amazed at the sights. The town hall is as immense and sturdy as the ground it looks as though it has grown out of. Beyond, Merrin can see the entrances to the mines, the hovertrain lines busy with cargo and passenger vehicles.

“Don’t get any ideas about taking a ride on one of those,” Greez tells Cal. “One train rescue is enough for an entire lifetime.”

“You didn’t exactly rescue me from the train,” Cal says.

“Almost,” Greez says. “We almost rescued you from that train.”

“Wish you had.” Cal’s hand rubs his chest. “I wouldn’t have broken so many bones.”

“Wait, you broke bones?”

The ice rink stands at the heart of the town square, a space easily as large as the swamps of Dathomir. Cal pays for tickets and skate rental. He only pays for himself and Merrin, and he leads her into a small, benched area where people are changing in and out of skates.

“Here you go!” Cal hands her the skates.

Dubious, Merrin stares at the boots in her hand, boots with thin blades bolted to the soles. She stares at Cal, who has already switched his regular boots for these skates. "You have ice-skated before?" she asks.

"Nope! Not like this. I’m not sure I can count sliding down frozen rivers on Zeffo as skating."

BD beeps. Cal scoffs. "No, you haven't! It doesn't count if you're not the one actually touching the ice."

In response, BD hops down and onto the ice. Merrin watches him slip and slide in the ice rink, barely avoiding the skaters. People dressed in warm clothes zip by, some with skill and confidence, others poised like they're terrified they might fall through into the water below.

"I'll have some hot drinks waiting for you when you're finished," Greez says.

"You do not have so far to fall," Merrin says. "Would it not be better for you to go skating?"

He laughs so hard he nearly crashed into the people walking by. "No, no way. This is a young person's sport."

An elderly couple whizz by. Merrin raises an eyebrow.

"They're Human! Totally different." Greez waves her away. "Go on, go! Have fun!"

Merrin looks to Cere.

“Not a chance,” Cere says. “I’ve got the med kit on standby.”

Accepting she has lost this argument, Merrin removes her boots and tugs on the skates, lacing them as tight as she can stand. Cal waits for her on the lake edge, BD back in his usual place. Apparently, he also decided against skating.

“Ready?” Cal asks her, hand held out to her.

She takes it. “If I go down, you are coming with me.”

He laughs and slides onto the ice, tugging her along with him. She keeps her balance, as does he, and she watches the more confident skaters, how they keep their heads held up and move with confidence. She can do that. How hard can it even be?

She releases Cal’s hand and pushes off, movement steady and confident. Her speed picks up, the cold air whistling by. She moves past slower skaters, eyes locked on the path ahead. She can do it. She’s doing it!

A small child whizzes in front of her, oblivious to the oncoming danger. Merrin’s instinct is to teleport out of the way. She resists, instead accepting the inevitable crash. The child, however, is faster than expected, and launches into a twirling leap, trailing glee and pride in her wake. Merrin is impressed, and she skates on.

“You gonna try that?”

Cal’s sudden presence behind her nearly sends Merrin failing to the ice. She saves her balance just in time. Cal cackles. She turns (it is not graceful) and gives him a hefty shove. He slides backward, with more grace than she mustered.

It’s times like she is reminded why she did not like him when she first set eyes on him on Dathomir.

“Go,” she tells him. “Show off. I will practice here and beat you at our race.”

“Didja hear that, BD? Merrin’s still up for the race!”

BD does his own twirl across Cal’s shoulders.

“Let us know when you’re ready!” Cal calls as he glides away.

He even does a little spin.

“The child’s was better.”

He sticks out his tongue as he skates away with the confidence of a pro.

By the time Merrin feels ready to race Cal, the ice rink has quietened down. She meets him on the far end. “I will race you,” she says. “No powers.”

He nods. “No powers.”

“BD? No help from you either.”

Whatever BD says in response causes Cal to laugh. She ignores them both. “On three.”

“One – ”

Merrin crouches, ready for launch. “Two…”

“Three!”

Cal takes off, BD squealing. Merrin digs deep and pushes hard, ignoring the voice in her head reminding her she doesn’t know how to stop. Cal is far ahead, weaving around people with obnoxious ease.

If only she could teleport. Then he’d lose. But she already knows Cere and Greez (especially Greez) would prefer if they kept their heads down unless they really needed to –

The lake quakes. The mood changes from joy to confusion. Merrin slows without stopping. People slow to a stop, looking at each other.

From somewhere off to the side of the ice rink, a voice shouts. “Get off the ice!”

Another quake, worse this time. Several people are thrown off their feet.

The ice cracks with strange twangs and pops Merrin has never heard before.

Cries go out, people no longer skating smoothly and instead flailing, trying to keep from falling off the chunks of ice and into the water.

Merrin falls to her knees, her balance lost. A man ahead of her skids to a stop, turns back and holds out his hand. “Let me help,” he says.

Thanking him, Merrin accepts his help. “What’s happening?”

He shakes his head. “I don’t know. We need to get off the lake.”

They move, hopping from ice floe to ice floe. Merrin catches sight of Cal and BD, Cal on his knees and reaching into the water. Merrin doesn’t have time to see what he’s doing, not when she and the man have to jump over a chunk of ice that has rolled onto its side. Turning to look again, she sees Cal dive into the water. Pulling her hand free from the man’s, she tells him to keep going.

“What are you doing?” he asks.

“I have to help my friend,” Merrin says. “He’s in the water!”

A look of unfathomable terror goes across the man’s face. “It’s too late.”

He flees without another word.

Confused now, Merrin no longer holds back. She teleports to where she last saw Cal, a terrible chill emanating from the water.

A chill and something else.

Something worse.

A presence.

Large.

Angry.

Cal resurfaces, BD on his back and a child in his arms. It’s the same child who’d leapt and twirled across the ice wish such ease earlier, only now they are limp and unconscious. Cal looks, spots Merrin, and thrusts the child at her. “Hurry,” he says, eyes narrowed with a particular focus Merrin recognises so well now. “There’s something in the water.”

Merrin grabs the child. She isn’t moving. She might not be breathing. Knowing Cal and BD can take care of themselves, Merrin teleports herself and the girl off the lake and onto dry land. People stare in shock.

“Help me!” Merrin shouts at them. “The girl needs you!”

A cry goes out and a woman rushes forward. Merrin senses the bond between woman and girl. Mother and daughter. “She’s not breathing!” the mother cries.

Merrin leans over, begins compressions. She senses Cere and Greez approach, but she doesn’t look up, not until the child coughs and stirs. Her mother wails with relief, scooping the child up.

“Thank you,” she says to Merrin. “Thank you so much.”

She dashes off, heading for local emergency workers racing their way. Merrin doesn’t see any stormtroopers. She sees Greez, puffed up, proud, and carrying Merrin’s boots. The sight almost makes her laugh. He hands them over. “You’re gonna need ‘em. Hurry.”

Grabbing them, Merrin wastes no time changing into them. Cere has already moved beyond them, blaster in her hand, headed to the edge of the lake. The water churns, waves slapping the banks.

Neither Cal nor BD are anywhere in sight. Merrin can’t see anyone else in the water too. The rink has nearly emptied out, only a few stragglers hanging around to stand and stare. Something else rings in her mind. That energy she’d felt earlier. The world’s industrious energy. It’s gone, replaced by something new. Something strange.

Whatever it is, she doesn’t have time to dwell. The water’s currents change, all the water pulled into the centre of the lake.

“It’s coming,” Cere says. She looks to Merrin, devoid of emotion. “Be ready.”

“Greez, get these people out of here,” Merrin says.

While Greez does as he’s told, pushing back a crowd of onlookers, Merrin joins Cere. Cere’s hand tightens around her blaster, finger on the trigger as water explodes into the sky. Merrin watches, her mouth dropping open, as three things emerge from the spray.

Cal.

BD.

And a creature out of a nightmare.

Grey and black, covered in thick scales, it resembles a snake, albeit one double the size of the Mantis with teeth as long as the ship is tall. Unlike a snake, it possesses four legs, each one bearing claws that could eviscerate any organic matter with a single swipe. It could probably grab the Mantis and eat it in one bite, and that thought clangs around Merrin’s mind when she watches a blue blade ignite. Cal flips around and lands on the monster’s back, scoring a lengthy wound in its scaly hide. The creature roars, its pain screaming through the Force.

Merrin can feel it, an untamed mind pushing at her own, pressing a sense of calm, of stillness, even as it shakes Cal off. He plummets again, BD’s boosters flaring as he tries to catch up. They’re going to hit the water, and the creature is already turning to go after them.

Merrin wonders if she should be more worried about that, but it all seems a bit far away now. She should just stand here. Stand here and enjoy the sights. She likes this world. It’s so pretty, and the sea is so vast, the mines so deep. What a lovely place this must be to live in.

Cere’s hands rise. She grabs Cal and BD with the Force, slowing their fall, but not enough. They both hit the water, because Cere’s pushing back against the creature, stopping it from diving into the lake.

“Get Cal and BD!” Cere shouts at Merrin, voice straining. “Hurry!”

“If you insist,” Merrin says, although she’s really not sure it’s necessary. She teleports from ice floe to ice floe, keeping her balance, reaching the spot where Cal and BD sank. BD appears first, shaking his head. Cal appears a moment later, looking dazed and frozen.

“We are going,” Merrin announces, grabbing both and teleporting back across the lake. She doesn’t hear either complain about their sudden movement. She doesn’t really hear much of anything except a song in her head that tells her peace, Merrin, be at peace. She reaches another patch of ice, right beside dry land where Cere’s shouting…

Merrin thinks she’s shouting. She can’t hear the words.

Peace, Merrin. Peace.

Something tugs on her arm. She pushes it off. Overhead, the creature resumes its fall, its mouth open wide, teeth splayed, its throat a blackhole.

It’s okay. It’s okay. It’s okay.

She closes her eyes.

Hands, cold and wet, ram against her. She hits the ground hard, a heavy weight falling on top of her. Water smacks into her, so cold she gasps with the shock of it.

The peace shatters.

The quiet too.

Footsteps. Fast.

Hands, grabbing.

“Merrin? Merrin!”

She blinks, looks up, sees the worry in Cere’s gaze. Why? What’s happening? Merrin looks around, finds herself on the ground beside the lake.

“What happened?” she asks.

Cere’s expression tells Merrin that was not the right thing to say. Heart sinking, worry mounting, Merrin tries to get up.

The heavy weight pins her down.

Cere leaves her line of sight. BD’s nearby – Merrin can hear him. He sounds worried. Why? What’s happening? Merrin’s head goes for a loop, pain seeping in. The weight moves, and she’s free to sit up. She does so, bracing herself as the vertigo keeps everything spinning. She breathes through the worst of it, and sees Cere leaning over Cal, fingers checking for a pulse, calling his name.

More footsteps approach, and this time it’s Greez with some locals dressed like medics.

Merrin decides she’s too tired to figure anything out. There’s an alarm sounding out in her head, but whatever’s causing it is lost behind the encroaching darkness. She falls back, only for four arms to catch her.

The last thing she sees is Greez leaning over her.

The last thing she hears is him telling her to stay with him, stay with –

[xeford2020]

Hallowe’en in Greenfield Village: 40 Years of History

"Ghost of Abraham Lincoln" in Logan County Courthouse for Halloween in Greenfield Village, 1982 / THF146345 Our beloved Hallowe’en in Greenfield Village program is celebrating its 40th anniversary this year. It’s been a fascinating journey to have been involved from nearly the beginning, eventually leading the team that plans and produces this very complicated and detailed guest experience. Throughout the entire history of the event, the true star of the show has been Greenfield Village after dark. I know of no better palette for our amazing creative team to have at its disposal to work magic year after year. The year 2020 and its COVID-19 pandemic will be looked back on as a turning point for not only the Hallowe’en in Greenfield Village program, but for all of The Henry Ford. The need for a safe environment and the resources available have forced the team to take a fresh look at the event and view things from a very different perspective. We are excited and invigorated by the plan we have brought forth and we hope our guests are too. The Beginnings of Halloween in Greenfield Village The Greenfield Village Halloween program began as an experience shared through our Education Department’s catalogue of classes and courses. This new concept of a family-based, Halloween-themed experience was first developed as a scary wagon ride experience, with stops and treats at various buildings in Greenfield Village. There were other fun seasonal activities, including dunking for apples, a costume parade and contest, and refreshments in Lovett Hall. The wagon ride was carefully planned out and tapped into Village stories, going as far as having as having a staff member’s child on board as a designated kidnap victim--a sign of the different times that were the early 1980s.

"Trick or Treat" at Wright Home in Greenfield Village, October 1982 / THF146356 This program was presented on an ambitious scale. It was offered one night only and served a remarkably large audience. It was wildly popular and showed what future possibilities and demand lay ahead for the Halloween season. (You can read more about this very first Greenfield Village Halloween program here.) A series of events led to the next phase of the Greenfield Village Halloween program. The Tylenol poisoning scare in the fall of 1982 changed people’s view of the safety of trick-or-treating. This, combined with new staff and reorganized Village Programs and Special Events departments, brought forth the novel idea of opening Greenfield Village at night as a safe place for trick-or-treating. Thus, the foundation for Hallowe’en in Greenfield Village was born: the basic format of the program we have used until now. This first Village trick-or-treat Halloween program drew an unexpectedly huge crowd of over 5,000 people. No control measures for timed or paced entry times were put in place and the event was open to the public. As expected, the supply of treats ran out quickly and drastic measures had to be put in place to try and keep pace. I remember working at the first treat stop, the Loranger Gristmill. We gave out handfuls of loose candy corn (a nice thematic connection to the gristmill). I remember it being a very chaotic experience and the porch of the gristmill being coated in smashed candy corn, which could not be seen—only felt—under my feet. In the light of the following day, I was amazed to see single pieces of candy corn that had been pressed out to the size of my hand, still retaining their original shape and color!

"Trick or Treat" at Heinz House in Greenfield Village, October 1982 / THF146374 Many lessons were learned that opening weekend. Moving forward, Halloween in Greenfield Village became a members-only event and entry times were established to slow and control the flow. Developing the Program in the 1980s and 1990s Halloween would remain a members-only event for the next 20 years. The first few years, Halloween only took place for one weekend in October. This would continue through the 1980s. By the early 1990s, the still members-only program would expand to two weekends and eventually three. During this time, staff were allotted a certain amount of free tickets, but were required to show up on a set day and time and stand in a very long line to get their tickets. Member tickets for the limited number of program days typically sold out very quickly. In the first era of the program, there was a lot of emphasis put on the treats and their thematic connection to the Greenfield Village sites from which they would be given out. Different treats were picked out each year.

The inside of the brochure for 1983’s “Family Halloween in Greenfield Village” lists the thematic connections for each building treat stop. / THF146311 Connecting the trick-or-treat path were a variety of Halloween-themed vignettes or interactions, associated with historical events and characters with a nod to scary stories of the past. The effects were low-tech and, in some cases, took inspiration from the emerging haunted house industry. First seen in the 1970s, these haunted houses were grassroots amateur efforts, often sponsored and produced by local Jaycees, Elks, and other fraternal organizations as fund raisers. They relied on cheap scare tactics that involved being jumped out at, grabbed, and sometimes gory scenes. For years, we used some of these very same techniques. The Ackley Covered Bridge was notorious for this.

"Gorilla" on Ackley Covered Bridge during Halloween in Greenfield Village, October 1982 / THF146372 When it came to infrastructure, the Greenfield Village of the 1980s and 1990s basically resembled the Greenfield Village of 1929. There were very few, if any, streetlights and limited access to power to add additional lighting. Until the restoration of 2003, Halloween in Greenfield Village was very dark. Because of this, the jack-o’-lantern pumpkin path played an important role in lighting the way through the experience. A continuous thread to today’s program is the large number of hand-carved and candlelit jack-o’-lanterns that line the path—though now, they serve more to create ambience and atmosphere. Over 1,000 pumpkins are now hand-carved each week to achieve the continuous path.

Volunteers Carving Pumpkins for Family Halloween Jamboree in Greenfield Village, October 1981 / THF146327 Throughout the 1990s, the Family Halloween program, still a members-only event, continued to grow in popularity and had become a yearly tradition for many. Creative collaborations between the Special Events, Village Programs, and AV teams continued to improve the experience, and serious work and experimentations began with lighting and visual effects. A huge breakthrough was the discovery that Tim and Tom, the Firestone Farm black Percheron horses were decent riding horses. It was not long before the Headless Horseman made his debut in the front fields of Firestone Farm. He was soon joined by Ichabod Crane and a Halloween in Greenfield Village favorite was born. By 2001, though the sophistication and fit and finish of Halloween in Greenfield Village had evolved dramatically from its early years, there was still great potential for growth. Previously, costuming had mainly been reworked or cast-off bits and pieces from the period clothing inventory, décor was minimal, and aside from the hundreds of pumpkins on the jack-o’-lantern path, the main emphasis remained on treats. The New Millennium Brings a Turning Point to the Program

Workers Laying Conduit in Greenfield Village during Infrastructure Restoration, January 2003 / THF133585 In 2002, the big news around Greenfield Village was the impending massive infrastructure restoration that would begin to take place in the fall. The Village would close at the end of September and not reopen until the following June. Halloween would take a hiatus that year as the huge project gained steam. This would be a turning point and a newly imagined program soon emerged, keeping in step with the newly imagined Greenfield Village. By the summer of 2003, a cross-functional team began planning the work. The team very quickly established a back story that would guide what the new Halloween would and would not be. The shock and gore, now so prevalent in haunted houses, was removed from the mix. Instead, there was a move toward a family-friendly experience that would rely on the power of Greenfield Village after dark and scary and adventure-based stories that fuel the imagination and Halloween spirit. Another important inspiration was Halloween party guides, published from the early 1900s through the 1950s, in the collections of The Henry Ford. These handbooks gave endless advice on how to decorate, what games to play, what food to prepare and serve, and a whole host of other miscellaneous tips on how to throw the best Halloween party. Among the most useful and inspirational were the series of yearly Bogie Books, published by the Dennison paper and party goods company from 1912 through 1935. These pamphlets were filled with illustrations, some in color, that featured the huge array of crepe paper and other party products produced by the Dennison Manufacturing Company. Elaborate costumes and party décor were shown—along with the list of Dennison products one would need to replicate the awe-inspiring ideas featured. The colors, textures, and techniques guided our teams in both costuming and decorating throughout the Village.

Dennison's Bogie Book: Suggestions for Halloween & Thanksgiving, circa 1925 / THF96746 Trick-or-treating would remain the main vehicle for moving guests through the experience on a set path, but the look and feel of the treat stations would begin to change dramatically. The Period Clothing Studio became very involved and began to design a spectacular series of costumes to bring the gothic, fairytale, and adventure storybook characters to life—with a nod to costumes of the 1910s and 1920s. By 2005, these characters would become the treat station hosts, with their own stages and stage lighting. Other favorite characters, like the Woman in White, the Dancing Skeletons, the live scarecrow, and, of course, the Headless Horseman and Ichabod Crane, made triumphant returns with new costumes.

Costume Studio Preparing for Halloween in Greenfield Village, October 2005 / THF12490 Another significant change at this point was the shift from Hallowe’en being a members-only event to a public event. Members still had first-pick when ticket sales opened, as they do now, but after a certain date, the public was invited to purchase tickets. As the popularity of the event continued to grow, so did attendance capacities. The creative work to improve costumes, set designs, and theatrical lighting continued. Through the 2010s, staged theatrical performances of Edgar Allan Poe’s “The Tell-Tale Heart” and other fun, but dark fairytales, such as “Hansel and Gretel” and “Little Red Riding Hood,” were added to the mix. To set up the live Headless Horseman experience, Washington Irving’s “The Legend of Sleepy Hollow” was also performed. Along with the dramatic presentations, live Halloween-themed musical performances featuring a vampire trio, the Potion Sisters, and a musical pirate review rounded out the offerings. To top it off, the Top Hat Side Show became a fixture on Washington Boulevard, anchoring the 1920s carnival theme in that area.

The Top Hat Side Show performing at Hallowe’en in Greenfield Village for the first time in 2015. (Photo by KMS Photography) By 2019, the Hallowe’en in Greenfield Village experience had hit its full stride and welcomed a record number of guests. There were now several different ways to experience the program with the addition of evening dining opportunities, including the children-themed “Fairytale Feast” and the 1850s Eagle Tavern Harvest Supper. Rethinking Hallowe’en in Greenfield Village in 2020

Signage outside the main entrance of Henry Ford Museum of American Innovation in March 2020, announcing the closure of our venues due to the worldwide COVID-19 pandemic. (Photo courtesy Ellice Engdahl) Planning for the 2020 Hallowe’en program was well underway when the world as we knew it came to a screeching halt—and along with it, the entire summer calendar of Greenfield Village special events. As we cautiously reopened the Village and Museum over the Fourth of July weekend, The Henry Ford continued to learn and understand how safety measures should work, what the scale of program offerings needed to be, and what the future might bring. By the end of the summer, it was clear that we could consider a Halloween program in October. We knew it would need to be reimagined and presented in a very different way in order to comply with safety measures while at the same time allowing our guests to have a fun and enjoyable experience. Based on decades of experience in planning and producing large scale public events, the Hallowe’en planning team took a fresh look at the program. It was immediately apparent that the entire concept of lining up for treats would have to be eliminated. Without the need for a set prescribed route, new possibilities opened, and the Holiday Nights model of enjoying the evening at one’s own pace and experiencing program elements in any order became the logical approach. Greatly reduced attendance capacities and timed entry would ensure a safe experience. Unfortunately, we were not able to offer our evening dining experiences this year, but happily, many familiar and favorite characters and experiences made a return.

A witch and the Hallowe’en Express welcome guests to Hallowe’en in Greenfield Village in 2020. (Photo courtesy Jim Johnson) A very exciting addition for 2020 is the Hallowe’en Express, a brand-new Halloween-themed train ride that makes a round trip excursion from the “Brimstone” Station at the front of the Village. Guests encounter all sorts of sights and sounds along the way. The presence of a live steam locomotive in the Village, with an eerie whistle created just for this occasion, adds an entirely new dimension to the overall experience for our guests. Over the past 40 years, Hallowe’en in Greenfield Village has steadily grown and evolved. There have been many turning points in its long history, and 2020 will rank among the most significant. New beginnings can often be viewed as painful endings, but the Hallowe’en in Greenfield Village planning team is fully embracing this new beginning and is very excited to share the path we have taken. Jim Johnson is Director of Greenfield Village and Curator of Historic Structures & Landscapes at The Henry Ford.

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[movieswithkevin27]

The Uninvited

Reliant upon atmosphere, suspense, and mystery, instead of gore and violence, this supernatural horror film is just so much fun to watch. Often times, this makes for the best kind of horror film, as evidenced in horror classics such as The Innocents and The Haunting, which films that thrill, put you on the edge of your seat, terrify you, and leave you liable to jump from just about anything due to their chilling atmospheres. The Uninvited from director Lewis Allen is the perfect embodiment of this with a truly scary supernatural element found in a home purchased by siblings Roderick (Ray Milland) and Pamela Fitzgerald (Ruth Hussey). Buying it from Commander Beech (Donald Crisp) - who sells it against the wishes of granddaughter Stella Meredith (Gail Russell) - the Fitzgerald's soon learn that the home is haunted, though they dismiss this as nothing but rumors. However, it takes no time at all for this duo to realize that perhaps something does live in this house from the spirit world. Making matters worse, whatever does possess that home desperately wants Stella to join it in the afterlife.

Though taking a little too long to get into everything, The Uninvited is certainly slow out of the gate. However, once it does get going, it is a film that sinks its hooks into the audience and never lets go. Introducing the horror element on the first night that Roderick spends in the home with Pamela, a crying woman can be heard downstairs. Stating that she had heard it before and tried to find the source of the noise, Pamela tells Roderick that this woman is crying throughout the home with no definite source. Trying to come up with a rational explanation and writing that sound off as whistling on the nearby rocks and similarly trying to find rational explanations for why the painting studio on the second floor is always so chilly, the Fitzgerald's are not willing to admit their new home is haunted. However, director Lewis Allen goes through every trick in the book to convince them and the audience. With candles turning off, weird noises in the night, ghostly laughter, the aforementioned crying, and an encounter where Stella tries to run off a cliff after visiting the couple, The Uninvited is a film that sends chills down the spine of any unwitting viewer.

Cultivating this atmosphere of absolute terror via these ghostly noises, unexplained occurrences, the deeply demonic and ominous seance attempt, and the often unsettling score, The Uninvited is a film that is wholly capable of scaring an audience via what it does not see instead of relying upon what we can see. Knowing that this home is haunted by, likely, two beings with one of them desperately wanting Stella to die, the film keeps tension high with an atmosphere so thick and ominous that the film frequently sends chills down your spine in anticipation of what is to come and in terror of what did occur. As with many of the best horrors, The Uninvited provides scares and tension solely through this atmosphere which gives the film great staying power that will keep you looking over your shoulder well after the end of the film. If nothing else, it may just make you go digging through some boxes for that old nightlight you had as a kid due to how tense of a watch the film can become.

One of the greatest tricks The Uninvited has up its sleeve is the mystery/whodunit element that seeks to uncover who the ghosts are and what they want. Exploring the scandalous relationship between Stella's parents and their housekeeper, this mystery is one laced with great tension. Hinting at the nefarious intentions of one of the ghosts and the efforts of the other to save Stella, The Uninvited is a film that is scary due to its bumps in the night, but is one that can effectively scare the audience even when outside of the home. As the characters explore the history of the Meredith family and their home, discovering horrifying events along the way, The Uninvited ramps up the tension as the characters must race back to the home to protect Stella and/oror must continue to delve into this seaside house of horrors to figure out what may be occurring or what the ghosts want them to find out. However, perhaps nothing is more ominous than when the film ditches the atmosphere and gets to the more visceral horror: the appearance of the ghost haunting the home.

While Allen thrills and scares with nothing more than suggestion or historical fact, neither of these compare to when the characters eventually see the white mist that turns into a ghost. Giving characters panic attacks upon encountering them or simply making your hair stand on edge, seeing the ghosts may seem likely to remove much of the mystery behind the film, but it does the exact opposite here. In fact, it scares effectively, efficiently, and is the perfect culmination of the film's atmospheric build-up. Never feeling cheap or dated when showing the ghosts of the home, The Uninvited is a film that keeps viewers lingering on the edge of their seat for the whole film and finally pushes them off. Omnipresent and entirely ominous, these ghosts are ones that seem to linger throughout the home with smells, lights, or temperature tipping off their presence. By the time they are shown, Allen has so effectively set the scene for them to appear that their appearance is one that only serves to ramp up the tension even further.

Heavily relying upon shadows in the cinematography, there are two scenes that stick out in this regard in the film and neither are all that ominous. Rather, it is just the shadow of Roderick. The first comes as he walks down the stairs with his shadow seeming to follow behind him on the ceiling. The second comes as Pamela sits down and all that is shown of Roderick is his shadow next to her. Though Roderick is obviously not the ghost, Allen's usage of his shadow in this fashion makes it feel as though the two of them are not alone. In particular, the former feels rather ominous as it comes early on in the film, soon after the pair bought the home. Giving off this feeling that he is being followed down the staircase, the moment is one that oddly plays into the atmosphere created by Allen and has a very uneasy vibe to it. At all times, however, the cinematography in the film is of the highest order. Creating a home that is petrifying to walk through at night, the shadowy look of this film is one that gives off the feeling that ghosts could be hiding in any corner or just waiting in the dark for the right moment to strike.

Greatly influential in the horror genre, The Uninvited is credited as being the first film to use the supernatural as the central "villain" in a horror film instead of just a source of laughs in a comedy. Including genre mainstays such as cold rooms with a supernatural presence, a tragic history for the ghosts that has cursed them to walk the Earth until they get what they have been looking for, pets that refuse to go near the ghosts, doors randomly closing, lights go on and off, books flipping to seemingly random pages, investigations into the history of the haunted house undertaken by the occupants and an outsider, and a representation of the ghosts as shadowy figures in the night, it is hard to find an element of The Uninvited that is not considered old hat now. Yet, as with all of the best classic films, The Uninvited does not show any signs of this imitation. Rather, it scares just as readily as it once did due to the fantastic atmosphere put together by Allen that smartly on more than trying to scare the audience. With a whodunnit mystery playing a major factor in the film, Allen is able to thrill his audience and keep them engaged as they try to guess what had happened in this home so long ago. Managing to thrill and often spook in its own right, this mystery element is one that gives great depth to The Uninvited that allows it to entertain and thrill even in quiet moments when Allen takes a brief break from trying to scare viewers.

A terrifying and deeply haunting horror mystery, The Uninvited benefits from strong performances from leads Ray Milland and Ruth Hussey and excellent direction from Lewis Allen. With Milland and Hussey contributing a great sense of humor to lighten the mood - especially Hussey who showcased her comedic talents in The Philadelphia Story and demonstrates the same sharp wit and delivery in this film - The Uninvited is a film that never slacks and turns into a full-bodied work of fiction. Influential in serving up frights and spooks with a chilling atmosphere, The Uninvited is a film that will make you jump up at 5 A.M. waiting to hear what may go bump in the night.

[friedmanjake]

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How To Make Weapons Last Longer Zelda

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Premature Ejaculation Is What Kind Of Disorder

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[symbianosgames]

It’s been a few years now since virtual reality became mainstream. As the kinks are worked out and the wrinkles straightened, VR continues to open up new gameplay mechanisms with fascinating potential applications. It also offers an even deeper level of immersiveness. What responsibility does the developer have to the player?

Among the early games to take advantage of the intensity offered by virtual reality is Here They Lie. The title was released for PSVR back in October. As one of the pioneers of the horror genre’s arrival on VR devices, the game’s developers, the Sony Interactive Entertainment studio in Santa Monica, have already tread this new and unfamiliar territory, and having done so, can help shed light on the creative and ethical pitfalls that lie ahead. To that end, Cory Davis, creative director on Here They Lie, agreed to share some insights with Gamasutra. 

He first makes clear that he and his team weren't pursuing cheap shocks. “I think in our game, instead of a direct rise and fall to jump scare, we had an element of bliss acting as this other zone we were pulling the player into," he says. "That to me can be just as surprising as a jump scare and anything else you might be able to set the player up for.”

The horror genre relies on tension, and as the architect of player experience, Davis admits his process is abstract and less formal than that of other developers, likening the difference to that between producing jazz and writing techno. But this worked well for Here They Lie, in that the team sought to achieve an unsettling tone by matching the pace of a hallucination, or a nightmare. Davis says they hand-tuned the process to create a balanced cycle that steered the player through several emotions through their peak, from dread, to terror, to pure bliss, the contrast of the latter acting as another level of surprise. 

From the beginning of Here They Lie, the player character Buddy is in pursuit of a woman, Dana, who seems both connected to his past and to the dark events of the present. This dynamic gave the developers the chance to lead the player through events of varying impact to define the emotional cycle they sought to achieve.

The same mechanism that gives virtual reality an edge over traditional video game experiences may also present a hazard. It’s one thing to create a horror-based experience that, due to technical and physical limitations, will always limit the extent of the player’s immersion. VR, however, closes the sensory gap in ways that may hinder their immediate ability to distinguish fiction from reality. 

Having made one of the first horror games in VR, Davis is aware of the added responsibility that interactive player experiences bring, noting that unlike his previous game, Spec Ops: The Line (which was presented as a first person shooter but fell more along the lines of psychological horror), the game was marketed honestly, acting as a warning to an audience that may be otherwise naive as to the intensity of the immersion.

“I do believe that it's good to have a reminder that this is a very extreme experience. [We’re] still in the infancy of what we're going to learn in terms of what these experiences can do.” He also cites the game cover, warning screens, and its Halloween season release as a fair indicator of what the player is in for, adding that the game also avoids graphic depictions of self mutilation or other types of gore that might be additionally upsetting in the first person perspective. The use of firearms or close-up extremes doesn’t appeal to Davis.

“I always have a really sort of extremely visceral reaction to firearms," he says. "They're not something you see in Here They Lie. Not that they're inherently more dangerous than a knife but I think if I were going to shoot you in the head… I don't know, I don't think I would shoot you in the head.”

He also draws a line between the horror paradigm and the proactive empowerment fantasies of most games, reflecting on how removal of player agency might have more impact in such an immersive first person setting.

“Say you’re in a shooter game and you're like ‘Oh I'm in cover, I got shot, and now I'm responding’. That is a different feeling than having someone tie you down and stick a gun to your head," he observes. "I don’t know if either one is good for you, but definitely the one that feels like a real life murder scenario is terrifying. That might need a special warning at the start of the game. “It should at least be marketed like a Call of Duty: Murder Death Trip 6!”

Davis likens the early stages of adapting horror to VR technology to psychedelic drugs, confessing that while some users will find it appealing to be a guinea pig testing the possibilities, that may not be the average player’s goals. “You're gonna find people that want to be astronauts, but that's not the average consumer. Me personally, if you’ve figured out how to create something that's gonna affect me psychologically, I'm going to be very tempted to be your guinea pig. But that's because I'm probably trying to learn something that I can apply to something I'm creating for other people. And you know maybe I can go a little bit further so I can take everyone else into the safe zone right behind me (laughs).”

A challenge in horror VR design is the player’s unpredictable reactive field of view. Any linear game with exploratory aspects runs the risk that the audience may not catch every cue or random event, some of which might be integral to the game’s core. You can lead a horse to water but you can’t make ‘em drink. Or in this case, you can curate a player experience but you can’t always ensure or predict their response. So how do you direct their attention while still maintaining a level of illusory freedom? 

Davis argues that first person horror games have always had the potential to respond based on where the player is looking, but that most center their action around major events instead of experiential moments that transpire in a reactive environment. 

“In Here They Lie, you walk into a new realm when a horror experience starts to happen around you," he says. "It’s almost like a hallucination or a nightmare because you're in a zone of horror. We're trying to get you into the situation to have a really unpredictable and interesting experience...so we're doing a lot of handcrafted timing tricks that had to do with where you're looking and where you might go and also using audio to foreshadow the small little tricks that we're trying to pull on you.”

“People are riding the razor's edge of their own expectations," he adds, "so you have to sort of predict what they might think is going to happen. And then make them wrong. And then make them right, at the right time.”

He compares the trick of anticipating and subverting player expectations in VR to sleight of hand. "We're naturally trained, in fight or flight situations, to have a heightened awareness of what might happen around us so that we can be reactive. That's just a really fun thing to play with."

He stresses that it's also an expensive thing to play with. "You need to have tools that allow you to evaluate those small details and the reactions people have, and be able to make the slightest adjustments to them without affecting the entire scene. You would not believe the amount of scripting that goes into a well-designed horror sequence. or the amount of it that you will never experience."

Davis says that the consequences of getting it wrong are profound. "All these small, little, tiny events, if you don’t design them correctly, can just cascade into maddening spaghetti wires of death that you'll have to rip out and redo over again just to get the smallest little effect of timing change that you may have learned is critical in order for the experience to play out correctly."

He claims that it's incredibly frustrating if you haven't designed your tools correctly. "You also have to build your scripting in a way that allows you to go back to the initial placements of the core foundation of the experience, and actually change them drastically and in a sort of fine tuned sort of way without causing an entire construct to collapse. You can think of each horror zone as a little realm that's almost an entire level's worth of scripting in and of itself.” Bad VR horror design can potentially cause as much unnecessary suffering for developers as it can for players.